The meganarritive entity in ‘Mais estranho que a ficção’: proximations between literary and cinematographic narrative

Abstract

Although it is not an intersemiotic translation, the movie Stranger than Fiction (2006), directed by Marc Forster, brings to light of the discussions on the Theory of the Adaptation an interesting example on what André Gaudreault denominated mega-narrator: an extradiegetic entity that manages the narrative. In the play, the character Karen Eiffel writes a novel about the life of a man named Harold Crick, not knowing that he really exists. The character acquires a different narrative voice when within the primary diegese, for Harold to happen everything that she typed of its story. This fact is marked, in the film, by the moment in which the character begins to hear the voice of its author to narrate, prescriptively and descriptively, the actions of its day. This narrative structure yields an approximation between the narrative method of literature with the recurrent cinematographic narratives, generating a problematic about the discursive faculties of each one of the languages, focus of this work.